DJ Sir Daniel and Jay Ray examine Kim Wayans' run of music parodies on "In Living Color" and trace how her characters critiqued the treatment of Black women in pop music while making audiences laugh. The conversation covers her castmate collaborations with T'Keyah Crystal Keymáh and Kim Coles, her parody of Crystal Waters' "Gypsy Woman," her Vanessa Williams sketch tied to the singer's ousting from Miss America, and her Tracy Chapman bit that doubled as commentary on the music industry's demand for repeat hits. The hosts also revisit her film appearance in "I'm Gonna Git You Sucka" and the "Rhythmless Nation" sketch aimed at Whitney Houston and Janet Jackson, arguing Kim Wayans used impersonation as a tool of cultural observation rather than mockery.

The Breakdown

• How Kim Wayans and T'Keyah Crystal Keymáh's "Cook It" sketch turned Salt-N-Pepa's "Push It" into an "In Living Color" showcase for Black women rappers and R&B artists dominating the charts in 1990
• Why the "My Songs Are Mindless" parody of Crystal Waters' "Gypsy Woman" and the "Kiss My Ass" send-up of Vanessa Williams' "Save the Best for Last" used comedy to comment on Black women's treatment in the music industry
• What the Tracy Chapman "Fast Car" parody revealed about the recording industry's pressure for artists to repeat a hit, and how "Rhythmless Nation" played off Whitney Houston and Janet Jackson's contrasting public personas
• How Kim Wayans' appearance as the Lounge Singer in Keenen Ivory Wayans' "I'm Gonna Git You Sucka," alongside scene-stealing turns from Anne-Marie Johnson, set up her run of R&B and hip-hop-era caricatures on "In Living Color"

Chapter Markers

00:00 Intro Theme

00:16 Introduction: Celebrating Kim Wayans

04:29 The Salt-N-Pepa Parody: Cook It

06:54 Quick Transition

06:55 Crystal Waters Parody: My Songs Are Mindless

11:05 Vanessa Williams Parody: Kiss My Ass

13:23 Tracy Chapman Parodies

16:32 Quick Transition

16:33 Whitney Houston & Janet Jackson: Rhythmless Nation

20:03 Kim's Respect for the Artists She Parodied

21:56 I Love LaQuita: The Lucille Ball Parody

24:09 Transition

24:15 Kim Wayans' Scene Stealing Appearance: I'm Gonna Git You Sucka

29:03 Shoutout to Anne-Marie Johnson

31:10 Quick Transition

31:11 Closing Thoughts & Call to Action

33:42 Outro Theme

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Greetings and welcome to another episode of Queue Points podcast.

I am DJ Sir Daniel

And my name is Jay Ray, sometimes known by my government

as Johnnie Ray Kornegay III.

And Sir Daniel, we are about to take a little detour outside of

what we normally do, but it is squarely within what we normally do.

This is about

Listen, it's a fun detour.

It's a funny detour

Mm-hmm

I have long said we've talked about this particular show as being so

culturally relevant to Black culture and to music just as, uh, just as, uh, Soul

Train, just as much as Soul Train, Yo!

MTV Raps.

It is just as important.

And this also, um, signifies this family des- um, dy- this family dynasty

of comedy, which includes, and I've always said this, you can quote me

on this, the funniest Wayans ever, in my opinion, you can argue with

your mom and your dad, is Kim Wayans.

Hands down, Kim Wayans is the funniest Wayans of the whole family, and she has

kept us in stitches for decades, Jay Ray

I, that I agree.

It's, I agree that she's kept us in stitches for decades.

I f- I really would love our audience to weigh in.

Like, Sir Daniel just made this provocative statement that Kim

Wayans is the funniest Wayans.

Who do you think is the funniest Wayans siblings?

You weigh in and let us know.

But Kim is definitely high up there because, and we'll get

into this tonight, she is iconic.

Like, she will have these many parts that become the cultural touchstone,

so we'll get into that in a second.

Before, I do wanna mention that one of our podcast cousins, They Reminisce

Over You, has a great episode on the history of In Living Color.

So if you want to go and check that out, definitely go and listen to their episode.

You will enjoy it.

Also, we discussed on this show, this is maybe three years ago now, with,

um, about the importance of how In Living Color basically started the

Super Bowl

Bowl

halftime show.

What makes Kim Wayans, as I said, the funniest Wayans,

is her complete dedication to going balls to the wall for it.

There is a reckless abandon that you have to have in order to do

comedy, especially when you do, um, what they call a… She has, there's

a b- she has a very big physical,

Shit

aspect to her comedy, whether it's throwing herself around

Mm-hmm

or by, like playing LaQuita and, you know, arching her body and, and,

and sh- and having a stretchy face and, and exaggerating her, um, expressions.

Uh, LaQuita, you know, those things, she does that and she has

no, there's no boundaries to her.

She does, she completely unleashes everything that she has into

these caricature, caricatures of a lot of people that we've grown

to know and love culturally.

And I've always believed that everybody that she's ever, um, impersonated on

the show, that she had a lot of respect for them and she had a lot of love for

them, and which wasn't always d- which always didn't come across, and we'll talk

about that in, with a specific artist.

Yeah

one of the first, when I think about it, one of the first episodes,

few episodes of In Living Color where we first see Kim Wayans dive into, uh,

music parodies, she was, um, teamed up with Tika Crystal Lemons, which is,

which was her castmate, and the two of them together are just extra funny.

Another comic legend, comic actress legend, sitcom legend, Tika Crystal

Lemons are absolutely hilarious women.

They deserve all the flowers and the praise for the all

the stuff that they've done.

But Jay Ray, do you remember Cook It with Salt-N-Pepa?

I do.

And the whole, it was, no, it was her, T'Keyah,

and, um, um, what's my girl?

The other, uh, Kimber- that was in, in Living Single.

Kim Coles, the other Kim.

So the three of them were Salt, Pepa, and Spinderella.

Kim Coles was Spinderella in the back, and she was, she was DJing

with two, I think, pots and pans or maybe, like, a, a food processor.

And Kim Wayans and T'Keyah were Salt N Pepa, and they were, like, mixing

up food in the kitchen, and they were rapping along, very well I might add,

to a pr- uh, to a parody of "Push It," but instead of "Push It," it,

of course it was called "Cook It."

"Ah, cook it." And they were talking about all types of food, dishes and whatnot,

af- at the same time being hilarious.

So I think, um, Jay Ray, I'm willing to bet that that, um, that particular

sketch probably did very well.

And they were like, "You know what, Kim?

You're a woman.

You're a Black woman.

Lean into these, um, characters that a lot of these, uh,

female performers are giving."

Especially at that time.

We're talking about 1990.

Yeah

So there was an, the, there was, like, an onslaught of Black

women artists that were killing it on the charts, a handful in particular,

and they were larger than life.

So of course for a comedic actor, that's a goldmine right there.

That is so much to, so much, um, source material to work off of.

And so that's why Kim Wayans has so many great parody, um, uh, parody

songs in the In Living Color pantheon

Yeah.

No, I agree with every, with all of that.

And I think the other thing, uh, about Kim that is unique

is it's funny, it's not bad.

Like, it's not bad performance, you know what I'm saying?

Right

is purposefully exaggerated performance.

And it's like, "Oh, okay, she's able to do this because she can kind of

bend, uh, her voice in these very interesting ways to kind of pull it off."

Sir Daniel, I think it's worth talking about a, a, a few of these

performances that really, made an impact.

And this one stands out for so many reasons.

But the Crystal Waters parody,

Yes

My Songs Are Mindless, was legendary.

So

To this Jay

school, to this day, so I remember in high school, I can't

remember exactly when it aired on, but I remember in school us having

these very intense conversations about seeing Kim Waters do this parody.

Because to put this in perspective, y'all, Gypsy Woman was such a huge house record.

And it's crazy to think about now, but back in the olden days, kids, in

the early 1990s when house music was ascending, everybody needed a house

track and, and, and they were hitting the charts, like going gangbusters.

And Crystal Waters, of course, uh, came to us with Gypsy Woman, uh,

which is a beautifully written song.

It's like this true story.

She like, you know, about an experience that she had, you know, seeing this woman,

uh, this, this woman who was experiencing, uh, homelessness on the street.

But we didn't have the kind of context for that song then that we have today,

and it was just an easy song to parody because people with the la da dee, la

da da felt like it was just kind of a throwaway series of lyrics, not really

understanding the full meaning behind it.

And so, uh, uh, My Songs Are Mindless, which K- Kim Wayans does a lot

in all of these parodies, is kind of like exaggerating this idea of

taking like real-life experiences and like putting them into the lyrics.

Like, «I'm on the show with Sir Daniel. We are recording the show

now. We gotta do the show now.»

That's Kim Wayans.

Y- absolutely.

And like j- like you said, taking the hook and replacing la da di

da da da with ha ha hee ha ha ho, I'll be rich, you'll be poor.

I am s- you know.

And you're absolutely right because In Living Color came on on Sunday nights,

so it was fodder all morning long, Monday morning long on the, on the ride to

school on the school bus, and in first period class we were talking about you

had to have watched what happened on In Living Color the night before b- if

you wanted to be one of the cool kids involved in the cool conversation about

the funny skits that we, the funny sketches that were aired the night before.

And, um, it, and shout out to the, the production team

Mm-hmm

In Living Color because it's not just about her putting

on, um, a, a wig and a, a suit.

Like, they really took the time to do a parody of the video because the

video back then was just like a kinda basic white block, color block video

with dancers and s- and some, um, some graphics, and tight close-ups of Crystal

Waters' face, which made it all, which at the time was very, um, tech savvy to

us because it was like, oh, wow, this video to us kinda just came out, and

here you guys are making a parody of it.

So which meant that In Living Color really had its finger on the

pulse of, of pop culture, period.

And to your point earlier, um, about the ascension of house music, S- "Gypsy

Woman" squarely was a crossover hit.

It

Oh,

it was not just bubbling in, on the house charts at that point.

That song had crossed over crazy, which made it prime

time for prime time television.

And, um, and another artist that was having a resurgence in the early

'90s as well was Vanessa Williams, and you had to remind me of this

'cause I almost forgot about this one

Yeah.

This is a very interesting one, and I feel like this, uh, crosses over into

a really important piece of being a woman in, uh, pop space, and being

a Black woman and being able to talk about the experiences of Black women.

So one of the parodies that, uh, Kim Wayans did was, uh, a, a parody

of Vanessa Williams' Save the Best for Last, which that song was huge.

It changed Vanessa Williams' entire career.

Vanessa Williams was having such a big moment between that song.

She was in The Equalizer with, uh, with Arnold Schwarzenegger.

Uh, oh, no, uh, I

You know, it was the,

the… What

the Eraser.

The Eraser.

Mm-hmm

Uh, she was in The Eraser, and so she was having this, like,

really huge Hollywood moment at that

I'm ready.

Yep

but Kim did a song- did a parody of Save the Best for Last,

and the song is called Kiss My Ass.

Now, is this important?

Because what this song is basically about is the experience of Vanessa

Williams as a Black woman who had been stripped of her, uh, Miss America title,

Correct

of this photo shoot that she had done.

Despite all of that, and Kim sings this in the parody, "I'm now a

superstar." Like, you know, 'cause at this point Vanessa's got hit songs.

She's in movies now.

Miss America thing is in the background.

Like, she has ascended past that, and she is still to this day our Miss America.

Like, do we know any of the other ones?

Like, Vanessa Williams is Miss America to us.

But Kim basically, Kiss My Ass is basically the F you to, uh, uh, to white

America that despite being stripped of this title that y'all said I couldn't have

because of this thing, I'm now signing autographs of this thing as a superstar.

And it's a great critique of the treatment of women, in particular the treatment

of Black women, in a comedic way.

Absolutely.

And so going back to Kim's natural ability to shape-shift and to become

the artist, this next artist, she looks so comfortable becoming Tracy Chapman.

Mm-hmm

Chapman at the time was… She was, so this is like, and Let

Me Clear My Throat started in 1990.

Tracy Chapman was a bonafide mega star,

Mm-hmm.

Grammy winner.

Fast Car was like her pinnacle hit, her signature hit song.

And so, you know, leave it to Kim to, to strip down all her makeup, to put

on a dreadlock wig and some, and some jeans and kinda, and kind of sturdy up

her, her posture You know, being, being respectful but also being respectful but

also saying, showing that, hey, you know, um, Tracy Chapman is a c- a sturdy woman.

She's a

A starry woman

she's a sturdy woman.

She's a, you know, a woman of, of masculine energy.

And so, um, so, so her doing that and doing a parody of Fast song.

And, and here's another, um, Kim, Kim doing really great work at pinpointing the

ridiculousness of sometimes of pop culture

Mm-hmm

just picking apart the fact that this song, which was a

Grammy o- Grammy-winning song, when you listen to it, is about observation

Yes

and, and it's a, it's a, it's a, a, a stream of conscious- consciousness

song that Tracy originally sings.

But the follow-up, there is another, um, uh, another, um, rutabaga.

What's the word I'm looking for?

Another rutabaga.

What Kim is doing is another commentary on the art of songwriting,

Mm-hmm.

and she picks apart Tracy Chapman's

songwriting, not her abilities, but the fact that Fast Car was

such a huge hit that the industry was expecting a follow-up.

We need

And I… We Need Another One of Those, which is a,

a commentary on the music industry,

Mm-hmm

which is the m- the music industry is very much cut and paste.

Cut, copy, and paste.

We want that again, repackage it so we can have more of that, of that result.

And the, the, the, the sketch finds Tracy Chapman in her one bed- in her

bedroom apartment out in the city, just looking out the window and literally

singing the four chords of Fast Car, and s- literally singing what she's seeing

and writing it down, and she's like, "Oh, this is gonna be a hit record."

Even to the point of a woman getting assaulted in the alley, she was like,

"Oh, this is gonna be a hit," and she wrote that down and sang it too.

So, uh, once again, Kim Wayne's doing more than just slapstick comedy, but actually

holding a mirror up to society and the music industry in her sketch comedy.

it's interesting that we just had two back-to-back experiences of

talking about kind of the experiences of, of Black women in, in music.

One of the most famous, unforgettable moments in In Living Color

history is Rhythmless Nation, um,

'Cause we get a super in this one

get a twofer in this one, right?

So Whitney Houston this moment in time is really struggling with identity in

terms of her public persona, who she is as a Black woman, because Whitney

Houston is a sister through and through, but her public persona as a pop princess

was causing this very intense division, which has been talked about ad nauseam.

If you watch any documentary about Whitney Houston, you watch any movie

about Whitney Houston, she has talked about how hurtful it was to experience it.

And it's interesting because, uh, this is an aside, but even within that, the

one of the most hurtful nights of her experience, she also meets one of the

loves of her life in Bobby Brown, so like this is all happening at the same

at the same time, yep

same time.

But Rhythmless Nation happens, and it is a parody of both Whitney Houston

as a performer, in particular a Black woman performer that we are,

that In Living Color is identifying as rhythmless, and Janet Jackson,

of course, in Rhythm Nation.

So you get this juxtaposition of these two Black women, uh, in pop culture

and, uh, but of course the center of it all is, is Whitney Houston.

And I think this was hurtful.

Like Whitney has been on record, like at, you know, this was a time when these

types of things were jabs taken at her.

It is not the only jab that In Living Color took at her, because they did, was

it Got Your, Got Your Babies Tonight?

I don't want your babies to

Want Your Babies Tonight.

Uh, and um, this one, funny, 'cause I'll never forget it, still remember it.

I remember it being introduced, "And Rhythmless Nation," we didn't know what it

was gonna be, and of course it was this.

So one, this one is complicated.

Super funny, but we also know that the harm that it caused behind the scenes now.

Yeah.

It, um, I often wondered, so Kim Wayans has never responded

to Whitney Houston's criticism, which probably was, you know, best

Mm-hmm.

because I'm pretty certain, you know, Kim respected

Whitney and Janet for that matter.

And I can't imagine that in Hollywood, Hollywood for Black,

for Black entertainers is small.

And so I can't imagine that they're not running into each

other, they're not running into or running in the same circles.

You know, or going to the Arsenio Hall Show and seeing each other at some point.

You're gonna run into each other, and I'm sure, you know, some words are gonna

be exchanged or who knows what happened.

I think that as we've said, uh, we can, what we're gleaming from these

performances of Kim Wayans, um, and her parodies of these Black women

specifically She did them with some care.

She did them with care.

Um, I think that she had to pick them specifically because they were iconic.

She would do people like Grace Jones, even though Grace Jones, the Grace

Jones parody was, had nothing to do…

Well, she did sing a little bit.

But it was very over the top and, um, and would magnify the, the masculinity

and the strength of a Grace Jones.

But Grace Jones was a powerful figure, and Kim knew that, and it

was like, "Oh, this is a p- somebody that is, people are going to respond

to in this sketch." Oprah Winfrey.

She's done, she's run the gamut of women.

Lucille Ball, I think may have been the only white woman that she impersonated.

But even that is, even that to, to Kim's genius, the fact that, um…

taking the fact that if y'all are, y'all who are probably not old enough

to remember, some of the premises, the premise of the Lucille Ball show

was that Lucille's husband, Desi, or I mean Ricky, was in entertainment,

Yes

band director.

Lucy probably didn't have any talent, but she wanted so desperately to

be in the limelight that she tried every and any trick she could

to get, um, Ricky's attention

Mm-hmm

even his industry friends' attention to get her some type of

spotlight or some, some shine on the show.

And Lucy's parody, I Love LaQuita, was like this Compton-out, big

bangle earrings-wearing, long, uh, Shanaynay nails, hood rat, uh, in a,

in a, in a one-piece leotard suit.

And her a- her and Ethel were like, had a salt and pepper routine, and it was just

where they were beatboxing and rapping.

It just, it was, it was also, it was just Kim also tapped into the

zeitgeist because female rappers were very huge at that time as well.

yeah

And a lot of her parodies were on female rappers and the importance

of, uh, and the power that female rappers were gaining at that time, so

she tapped right on into that as well.

So for, again, just giving weight to my, my earlier statement that Kim Wayans

is the funniest Wayans of them all

I feel like, I mean, I think are so many… Of all the In Living Color

moments, and I can say this with my whole chest 10 toes down, my favorite In Living

Color moments all involve Kim Wayans.

Like we just mentioned the Grace Jones, like the Grace Jones skits,

uh, uh, Rhythmless Nation, you know, these, all of these skits.

Uh, uh, r- was it Cephus and Reesey?

Cephus,

Phus

Cephus and Resi and, um, Della Reese's Pieces when she was Della Reese.

I mean, the list goes on and on.

Lil Magic.

Oh, Little

Magic

So think that's really critical.

And I mean, before we talk a, a bit about, um, how we came to see her the

first time, 'cause I think this is really important, do wanna just note,

um, what me and Sir Daniel are talking about is squarely within Black tradition.

She's telling a joke, right?

But she's offering clever critique indirectly, right?

So it's like saying the thing without saying the thing.

It's a little ironic.

It's a little teasing.

It's a lot of storytelling, but what we're trying to do is we're really making deep

cultural critiques about what's happening in our culture and in the world overall.

And so, um, whether she was trying or not, um, she was doing this, and she

continues to do this thing that, uh, is really important to Black culture.

the first time we see Kim Wayans, this is her first film, okay?

Kim Wayans is in her brother's, uh, film.

Before we get into, to her moment, I'm Gonna Git You Sucka is really important.

Yes

Keenen Ivory Wayans and Robert Townsend are at the, uh,

the, the foundation of kind of the new Black r- film renaissance.

So this is happening in the mid-1980s.

Uh, in 1987 we get Hollywood Shuffle, which, uh, Keenen Ivory Wayans

co-writes with Robert Townsend.

It's a Robert Townsend film.

That very next year we get Keenen Ivory Wayans' I'm Gonna Git You Sucka.

Um, and so this is, uh, 1988, and it stars Keenen Ivory Wayans and a Bernie Casey.

Shout out to Bernie Casey, who is a, a film, a Black movie legend.

And it's basically a parody of, of a, uh,

the blaxploitation films

the Blaxploitation films kinda rolled up into one.

Um, and it's super funny, but there's a moment in the picture Where we

get introduced to the lounge singer.

This person ain't got no name.

Like, their name in the credits is Lounge Singer.

But Lounge Singer is played by Kim Wayans.

Sir Daniel, what is this lounge singer doing?

First of all, it, let's do the, when you see the opening

shot of, um, Bernie and, um, Kenan walking into the bar, making

their way to the, to the counter.

No, making their way to a, a, a s- a table,

Well, they

they sit down

You were right, they go to the counter first, then they go to the table.

And they go to a table.

You can hear Kim first before you see her.

And, uh, and so when they sit down, their order, they're getting their order, which

is funny in and of itself because Bernie orders a, a Jack and Co- a Jack, uh,

uh, just a whiskey or something strong.

Whereas Kenan's character is such a, you know, is, is such a choir boy,

he order, he orders a double Coke

A double Pepsi,

A double Pepsi.

A double Pepsi, right.

Sorry, Coke.

It was a double Pepsi on the rocks.

Was it on the rocks or was it d- yeah.

And the waitress is like, you know, "Oh, big man, double Pepsi." And so while

they were talking and g- getting their order taken, they are interrupted by

the caterwauling, and that's the best word that I can call it is caterwauling,

of the lounge, this lounge singer that is doing the absolute most.

And the song that she's singing is "When the Saints Go Marching In." And

they finally cut to the stage where Kim Wayans, a young Kim Wayans, is on

stage going as I s- she, again, from the very beginning, going for it 100%.

Foolishness.

She is stretching her face.

She is singing all these, drawing out all these notes.

At one point, she ends up on the floor rolling around and getting wrapped up in

the microphone cord, and I believe she even falls off the stage at one point.

And, and K- and, um, Keenan's, Keenan and Bernie's characters are like, "Who

the hell is that?" As far as like, "Who is the s- who is that?" To, to

the waitress, and the waitress is like, "Oh, that's the director's sister."

So we get this fourth, the breaking of the fourth wall moment, and she,

they look at, they both look at, at Keenan, and then Keenan kinda looks at

the camera breaking the fourth wall.

And then we just get this really great comedic moment where Kim

Wayans doesn't even really have lines, but she stole that scene.

whole scene.

That whole scene was absolutely hers.

That is her scene, and that's the only time she shows up in this movie,

and you remember it to this day.

If you have not seen I'm Gonna Git You Sucka, if it's on streaming, you really

must take a, take the time out to watch the entire movie because a lot of those,

first of all, a lot of the people that were in the movie are no longer with us,

Mm-hmm

it's just a g- it's just great satire, um, parody filmmaking that is just

truly comedic, a little over the top, but just good, wholesome fun, great jokes.

Yeah

before we end, but I know we're about to wrap up, but I can't,

Jay Ray, I cannot talk about this, this lounge scene without giving flowers

to another amazing comedic actress

Mm-hmm

absolutely is a scene stealer in these, in these next, um, uh, uh,

sequences, and that is Anne-Marie Johnson

Baby, that woman right there

That,

big one

she is comedic gold.

You re- if you grew up and you went and you spent a lot of time at your, at your

mema's house, your gran- your nana's house, your grandma's house, and you

watched television with grandma, then you were watching In the Heat of the Night.

She was in In the Heat of the Night.

yes.

She was in

wife.

Virgil's Wife.

She was in What's Happening Now.

She w- Rogers' Wife.

She was playing, always playing somebody's wife.

And she stole, she was a scene stealer in, um, in Living Single, where she

got her wig caught in the, in the door.

Iconic scene

moment.

Iconic

So Anne Marie, so what I'm saying is Anne Marie

Johnson is, she's comedic gold.

She's, she's a mainstay in Robert Townsend's, um, canon

of, um, um, uh, HBO specials.

Anne-Marie Johnson, of course you, if you're a fan of this movie, you know

that she is the voluptuous sex siren wearing the very hot red leather outfit.

She sticks out like a sore thumb in the night lounge.

With

And she, with the, with the big volume, voluminous hair, very

tight, juicy, got you crazy suit.

And, um, so she and Keenen Wayans have a very, very iconic, very legendary scene

about, oh, I don't know, about 12 inches some- of something, and of things, and you

just have to go and see it for yourself.

But I just, I just wanna take that moment.

Thank you, Jay Ray, for allowing me to take this moment to give

Anne-Marie Johnson her things because she's so hilarious to me.

She's just, between her and Kim Wayans, they stole that movie.

You know, um, glad we had this conversation.

I think this is really important that we… Black music is within

every piece of our culture, right?

There's really nothing Black folks touch that doesn't in some way involve music.

Um, it is one of the things that has empowered the civil rights movement.

It's part of our, our way of communicating with one another, right?

So Kim, Kim Wayans is that girl.

You know what I'm saying?

And, you know, she definitely told some important stories in what she was doing,

but, you know, and she made us laugh, and I think that's really, really important.

So glad we spent some time honoring our sister.

That's the most important part.

Absolutely, that's the most important part.

So Kim Wayans, we thank you.

Um, Kim Wayans has her own web series now, so go check that out.

So if anything, go check out why Kim Wayans is the comedy GOAT and the, the

GOAT of the Wayans family, in my opinion.

Yeah,

my humble opinion

listen, I, I, listen, let us know.

Y'all, so first of all, couple calls to action.

Let us know what y'all think.

Who do you think is the funniest Wayans?

Um, so Daniel says it's Kim.

Who do you got?

Um, we also have a playlist of Kim Wayans parodies, uh, that you can check

out on YouTube, so definitely do that.

But thank you all for hanging out with us.

If you can see our faces and hear our voices, go ahead and

subscribe wherever you are.

Visit our website, um, at queuepoints.com.

You can do a ton of stuff over there.

Watch the archive of Queue Points episodes, become a member, check out

our blog, um, and hang out with us.

We have a ton of stuff that we do, uh, outside of this particular

show, and you can get access to all of that on our website.

Uh, visit our store, uh, at store.queuepoints.com, and, you

know, just keep hanging out with us.

We appreciate y'all and we love y'all

We certainly do, and like I say at Rutabaga, we certainly do,

and like I say at the end of every show, in this life you have a choice.

You can either pick up the needle or you can let the record play.

I am DJ Sir Daniel

And my name is Jay Ray, y'all

And this is Queue Points podcast, dropping the

needle on Black music history.

We will see you on the next go-round.

And I ain't one to gossip, but you ain't heard that from me.

heard that from me.

Peace, y'all.

Peace, y'all.